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S T A T I 

R Y 

Vo lume 12 
Number 2 



C. Carey Cloud, age 20 

C. Carey Cloud 

Ann Montanaro 

East Brunswick, New Jersey 

Who really created 
the pop-ups for the 
Blue Ribbon books — 
was it Harold B. Lentz 
or C. Carey Cloud? 
According to Cloud's 
1983 autobiography 
Cloud Nine: The 
Dreamer and the 
Realist, he did. He 

"I designed a 
novelty for children, 
and my search for a 
market for the item 
led to Sam and Ira Gold, who represented the Blue Ribbon 
Book Publishers in New York. They didn't care much for 
my concept, but they were looking for novel juvenile book 
ideas. We eventually devised the pop-up book; the 
leverage created on opening the book pulled up an action 
picture in the center spread. 

"I later obtained two patents on the idea. The Golds 
took my first sketch to Blue Ribbon Publishers. They were 
elated over the idea and wanted several books. This is 
when I started to smoke better cigars. 

"Sixteen-hour workdays were required to produce a 
book on schedule. When one book was completed, another 
assignment was waiting. I made seventeen books in twelve 
months. We made pop-up books out of all the Mother 
Goose characters. Then we made some using famous 
comic strip characters. 

"Ira Gold remarked one day: 'We have action, now if 
only we could get sound.' My next book was Terry and the 
Pirates. I created a pop-up showing Terry rising from 
behind a rock, aiming a pistol at the reader. Then I went 
to a novelty store in the Palmer House and purchased a 
book of fake matches. 

Continued on page 2 

Frankfurt Book Fair 2003 

Books to Play With... and Toys to Read 

Part 2 of 2 

Theo Gielen 
The Netherlands 

Part 1 of this article appeared in the February issue. 

New from continental Europe: 

Since Russia was this year's country of special attention 
("Schwerpunkt") in Frankfurt, I had hoped to see some new 
Russian pop-up books. But going through the rather large 
area where the Russian publishers showed their products, I 
found just one small shelf with some 15 Russian-language 
pop-up books. All of them were recognized to be co-editions 
of the Italian fairytale books published by Dami Editore: 
colorful, sideways opening mass-market books with simple 
cut and counter-folded three-dimensional scenes. Nothing 
could be found like the (simple) 3-D books with the stories 
of Tolstoy, Majakovsky, Marschak, and others that were 
published in the 1970s and 1980s under the Soviet regime. 
Each of the earlier books showed the peculiar Slavic, or 
naive, rustic Russian peasant art that make the books loved 
by (some) collectors. 

The first designs of pop-up books by the Russian paper 
engineer Nickoly Nemzer seen in Frankfurt last year, have 
developed into a series of four books and were displayed by 
the Belgian packager C4Ci. They will be published spring 
2004 hidden into textbooks by Pieter Mans and Mario Boon. 
From the inside of the padded back covers of the books, into 
which they are inlaid, Nemzer' s egg-shapes can be removed 
to be unfolded into new-born beasts: What's in the Cave?, 
What's in the Attic?, What's in the Castle?, and What's in 
the Rocket? 

The publishers from Germany that published nice (also 
original German) pop-up books in the past - like Ars 
Edition, Schreiber or Coppenrath - now seem to have 
completely abandoned this market. It was at the stand of 
Gerstenberg Verlag, the publisher of quality children's 
(picture) books, that we found a new book from the only 
German paper engineer, Antje von Stemm: Olios Welt 
(Olio's World; 3-8087-5032-7) with text by her friend 
Franziska Biermann and illustrations by "Brilliante Tochter" 
(Brilliant daughters), the designing company of the two. 

Continued on page 10 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of the 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annual membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, Movable Book Society, P.O. 
Box 11654, New Brunswick, New Jersey 08906 USA. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 

e-mail: montanar@rci. rutgers. edu 

Fax: 732-445-5888 

The deadline for the next issue is August 15. 

Cloud , continued from page 1 

A cap exploded when the matchbook was opened. I 
removed the matches and glued the matchbook in position 

under Terry. When the 
book was opened and Terry 
popped up with pistol in 
hand, the hidden 
matchbook went 'BANG!' 

"I presented the book to 
Ira. He opened it. His 
reaction was unexpected — 
he almost fell from his 
chair, his composure 
destroyed. Ira's response 

:_j:--*.-j l _ — * 

muicaicu uc was itvi 

pleased with the idea. I 
remarked, 'You said 'get action' and I gave you 
action. 'Slightly mollified, Ira growled, 'Yes, but not that 
kind of action.' I didn't dare let him know it was only a 
joke." 1 

An aside is added here because Sam Gold [I can find 
no reference to Ira] had an interesting role in this and 
related developments. In 1920 Gold, then 20 years old, 
began working for Whitman Publishing Company, then 
one of the largest publishers in the United States. At 
Whitman he created and developed children's books. Just 
two years later, in 1922, he moved to Chicago and started 
the American Advertising & Research Corporation 
producing children's books, premiums, direct mail, and 
displays. Sam was a born salesman. His revolutionary idea 
was to market products to adults through their children. 
To do that he created point-of-purchase displays, posters, 
direct mail, and radio scripts directed at children. He also 
contracted with food companies to produce small toys as 
premiums. Throughout the next two decades he sold 

premiums to General Foods, Kellogg's, Quaker Oats, and 
others, and by 1949, according to an article in Life Magazine 
(April 19, 1949), Gold was the "Premium King." 

In 1934 Gold created and produced the Mickey Mouse 
Waddle Book for Blue Ribbon Books and later arranged the 
license for The Wizard of Oz Waddle Book. "It was also in 
1934 that Sam created and produced a pop-up book 
containing comic characters for, once again, Blue Ribbon 
books. He handled the creation and marketing and negotiated 
the licensing with the comic characters. He arranged the 
licensing and comic character's artwork with his friend Al 
Leowenthal, head of the Famous Artists Syndicate, and his 
friend John Dille on the Buck Rogers pop-up book. Tarzan, 

Orphan Annie, Mother Goose, 
and Little Red Riding Hood 
titles were also produced. Sam 
did the marketing plan for the 
salesmen on how to sell these 
books in different circulars and 
advertisements, and he even 
designed and produced the 
display counter stand." 2 

the v ^©p^tiF-'' 

So what is the relationship 
between these three men: 
Harold Lentz, C. Carey Cloud, 
and Sam Gold? All that is 
known about Lentz is that he 
was an artist from Toledo, 
Ohio, who worked in the 
juvenile art field and served as art director for a Cleveland 
bank before beginning work with Blue Ribbon Books. Articles 

Title page: 

The Story of Little 

Black Sambo 

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Lentz created the illustrations for ten pop-up books and is 
credited with preparing all of the dummies for the 
mechanicals. 3 

Cloud was born in central Indiana and even as a young 
child his only real interest was art. After leaving school in the 
Is* grade, he worked at odd jobs and then in his late teens 
began his formal art training by investing $25 to study with 
the Landon Correspondence School of Cartooning and 
Illustration. That experience led to a position as a staff 
cartoonist on the Cleveland Press, and later he became an 
illustrator for an advertising agency. By the early 1930s he 
was out of work and seeking ways to earn a living to support 
his wife and three children. It was during that period that he 
designed a novelty for children that he marketed to Sam Gold. 
The work with Gold led to the creation of pop-up books. But 
working on the pop-ups must not have been of much 
importance to Cloud as in his 154-page autobiography the 
only thing he wrote about that experience is the five short 
paragraphs shown above. 

Perhaps the Blue 
Ribbon books were done 
collaboratively and all 
three men were 
involved. We know a 
few things: Cloud held 
patents on some of the 
mechanicals, Gold 
obtained the licenses for 
the cartoon characters 
and marketed them to 
Blue Ribbon, and both 
Cloud and Lentz worked 
on the illustrations and pop-ups. What can we tell from 
looking at the books? In each of the Blue Ribbon books the 
illustrator is prominently named on the cover or the title 
page, but, as was the custom, the person who created the 
mechanical was not identified. Cloud is identified as the 
sole illustrator of two books - The Story of Little Black 
Sambo, 1934 and The Tale of Peter Rabbit, (1934), and as 
joint illustrator with Lentz on three others - Goldilocks 
and the Three Bears, [1935]; Puss in Boots, 1934; and 
Little Red Ridinghood, 1934. Yet by his own account he 
worked on 17 books in 12 months. Since the creators of 
cartoon characters were listed as the illustrators of their 
books and no paper engineers were identified, we cannot 
know for sure who produced the actual art work nor who 
did the pop-ups. 

Cloud, date unknown 

career. Cracker Jack had been importing toys from Japan for 
over 30 years and wanted to stop the practice. They had no 
source in America that could produce the supply they needed. 
Research done about Cracker Jack toys has revealed that 
Cloud designed over 289 different toys in his 24 years with 
the company. They included cardboard figures made by 
pushing out perforated parts and folding along dotted lines, 
such as chickens, rabbits, little girls in fancy dresses, trucks; 
"minute movies"; "twirlies"; plastic figures; and countless 
games and optical illusions. 4 Cloud continued to make 
Cracker Jack toys until 1962 and by his own estimate, 
measuring toys by the pound, he created, produced, and 
delivered about 700 million toys to The Cracker Jack 
Company. 5 In one year alone 45 million toys were turned out 
from his designs. 6 

Throughout his adult life his paintings played an 
increasingly important role. Following his retirement he 
devoted his full time to art, working in a style he described as 
"decorative realism." 7 

But, back to trying to answer the question of who created 
the pop-ups, since all of the contemporary articles published 
about the Blue Ribbon pop-ups in the 1930s identified Harold 
Lentz as the creator, it seems only right to continue to identify 
him with the books. C. Carey Cloud was obviously an 
important contributor to the pop-ups but the question remains 
as to why he was not recognized in the publications of the 


1. Cloud, C. Carey. Cloud Nine: The Dreamer and the 
Realist. Cloudcrest, Nashville, Indiana, 1983, pp. 48-49. 

2. "The Premium History of Sam & Gordon Gold: Good 
as Gold." 
hake_gold.html. (accessed December 23, 2003). 

3. "These Pop-Ups! A New Sensation in the Field of 
Children's Books. The Publishers' Weekly, December 3, 
1932, p. 21 12. 

4.Brooks, Ralph L. "Year 'Round Santa Claus." The 
Indianapolis Sunday Star Magazine, October 29, 1950, pp. 

The production of Blue Ribbon pop-ups did not last 
long; and, after working only a few of years on the books, 
Cloud was out of work again. The Depression caused him 
to lose his home, but he was not defeated and it was 
because of his next job that he would be remembered. By 
1937 Cloud was doing artwork through the advertising 
department of The Cracker Jack Company and the 
manager suggested he talk to the premium department and 
with the buyer of toys. That meeting was to change his 

5. "The Premium History of Sam & Gordon Gold: Good 
as Gold." hake 
_gold.html. (accessed December 23, 2003). 

6. "Full Cycle." Design, May-June, 1965, pp. 38-41. 

7. Brooks, Ralph L. "Year 'Round Santa Claus." The 
Indianapolis Sunday Star Magazine, October 29, 1 950, pp.36- 

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Wehr's Popeye and the Pirates 

My Three Favorites 

Maria Winkler 
Carniichael, California 

After much of the usual deliberation, mulling 
over which category to choose, I decided on three books 
that best utilize movement to enhance and extend the 
story. I chose two movable books and one pop-up book. 

I will begin 
with the first 
movable, Julian 
Wehr's Popeye and 
the Pirates. I love 
all of Wehr's books, 
but my favorites are 
the ones that 
involve the greatest 
number and 
versatility of 
movement in one 
illustration. It was a 
toss-up between The Cock, the Mouse, and the Little Red 
Hen, The Animated Circus Book, and Popeye and the 
Pirates. However, I chose Popeye and the Pirates because 
it took an "animated" cartoon, and "animated" it in paper. 

Popeye and the Pirates, copyrighted in 1945 by 
King Features Syndicate, created and produced by 
Dunewald Printing Corp., was illustrated by Sagendorf 
and animated by Julian Wehr, probably one of the few 
times Wehr didn't do the illustrations himself. It has four 
pages of animation, two of which are activated by a single 
tab in a typical side-to-side direction, and two of which are 
activated by a tab that moves in all four directions; up and 

down and side-to- 
side. These two 
pages that 
incorporate four 
directions also 
animate four 
separate parts of 
the illustration. 
What is 
remarkable to me 
is that the four- 
way tab creates 
logical movement, 
provides the 
characters with life-like qualities, and gives the 
impression that one is watching an actual feature cartoon. 
I am also impressed with the efficiency with which Wehr 
is able to create this effect, using thin, cheap paper and a 
single tab. Of course, his use of the four-way tab is not 
unique to just this book, but I wanted to acknowledge the 
extra effect it had on an "animated" cartoon. 



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Wehr's The Cock, the Mouse, 
and the Little Red Hen 

Scene from Magnus the Magnificent 

I can't leave the discussion of Julian Wehr without 
one more example of his ability to create a life-like effect. It 
is his illustration of the sleeping fox in The Cock, the Mouse, 
and the Little Red Hen. The four-way tab not only moves the 
characters of the mouse and the cock, but also the fox's head 
and chest, showing him breathing in his sleep, his chest 
expanding and contracting, and his head nodding, 
simultaneously. Amazing! 

My second 
choice is Magnus the 
Mighty Magician, 
one of a series of 
books illustrated and 
animated by Rudolf 
Lukes, and published 
by Bancroft & Co. in 
the 1960s. Lukes uses 
a unique three- 
dimensional movable 
effect that 
automatically occurs 
when the page is opened or turned. A paper lever that 
originates on the left side, spans the gutter of the book, and is 
attached to the movable parts on the right side, causes the 
movement. One of the best examples is the illustration where 
Magnus is in the process of reading his "enormous magic 
book." As you open this page of the story, a page from his 
"enormous magic book" also turns. It's so realistic! The Little 
Polar Bear and Toby the Seahorse are two other books in this 
series that employ similar complex actions. 

My third choice is 
also my favorite pop-up book 
of all, Robert Sabuda's Cookie 
Count, published by Little 
Simon in 1997. It is the first 
book I show visitors for the 
"WOW!" effect, especially the 
three-dimensional gingerbread 
house. I'm captivated by the 
book's variety of movements 
and sense of humor. The page 
that I go back to time and 
again is where the mice are pulling the fortunes out of the 
fortune cookies. Did you stop to read the fortunes? They're 
hilarious! As in Rudolf Lukes' books, movement is created by 
the act of opening each page, no tabs to manipulate as in 
Wehr's animated books. But in Sabuda's books, the 
movement continues, with sometimes a secondary movement 
when the page is more fully opened. On page 2, with Coconut 
Kisses, the mice appear only after the kisses have popped into 
dimension and the book is almost completely open. I don't 
want to leave out the spinning fork accompanying the 
Pinwheel cookies, which continues to spin the entire time the 
page is being turned. Can this be the precursor for the 

spinning cyclone in Sabuda's The Wizard of Ozl His use 
of continuous motion adds so much to the text and extends 
the animated quality of the illustrations. 

Well, those are my three choices for exemplary 
movement. What's so nice about this continuing series of 
articles on "My Three Favorites" is that different books 
can be chosen by changing categories. So many other 
categories and books come to mind . . . the most humorous, 
the most artistically illustrated, and the most...well, 
perhaps Ann will ask me again another time. 

Illustrating Juveniles with 
Tri-Dimensional "Pop-Ups" 

By Freeman Lewis 

One of the most interesting recent developments 
in the field of juvenile bookmaking has been the 
introduction of "Pop-Up Books, " a descriptive title which 
explains itself. For these novelties, with their three- 
dimensioned illustrations, are a truly unusual departure 
from the conventional; and their production comes under 
the heading of "book-building" in the most literal sense 
of the word. 

In this article Freeman Lewis, of Blue Ribbon Books, 
Inc., the publishers, tells how it's done. His analysis of the 
manufacturing steps will be of general interest in the 
bookmaking field. 

The new "Pop-Ups" issued by Blue Ribbon Books 
recently are of considerable interest to manufacturers and 
book binders. They represent the first books with three- 
dimensional illustrations ever made in America and 
necessitate a return to hand work and slow production 
which is unusual in this machine age. 

To any one looking at the various old German and 
English books containing three-dimensional illustrations, 
it is obvious that one of the explanations of their quality is 
the fact that the text paper used is so thin and flexible that 
when the book is opened the illustrations will not stand 
erect unless the reader holds the pages down firmly. In 
addition to a stiff paper, the use of color also makes 
necessary a smooth surface. And with the emphasis which 
buyers place on bulk, a thick paper must be used if the 
books are to be successfully merchandized. 

To overcome these difficulties, an extremely hard 
bristol board, surfaced on both sides, was tried at first. But 
this paper was too hard and not smooth enough. Solid 
soda pulp paper also turned out to be unsatisfactory. 
Finally a paper was evolved which had a fairly soft wood 
pulp core and a calendered soda pulp surface. This paper 
has been very satisfactory. 

The Pop-Ups themselves could, of course, not be made 
from such stiff paper. They were printed separately and die 

The expense of the plates on these books is considerable, 
and to save as much as possible, all the color work is done in 
line and Ben Day. [A method of adding a tone to a printed 
image by imposing a transparent sheet of dots or other 
patterns on the image at some stage of a photographic 
reproduction process. Named after the inventor, New York 
printer Benjamin Henry Day.] 

The problem of binding the Pop-Ups is a difficult one. 
There is so much extra paper in the center of these books that 
it is necessary to insert tabs to add bulk to the shelf back. 
These tabs are inserted under the pop-up pages during the 
collating in order to avoid an extra hand operation of sewing. 
In the 1932 editions four tabs were inserted; but as these have 
not added enough bulk, the number will be increased. 

A certain amount of glue is rubbed between the signatures; 
and because the paper is so stiff, these signatures crack apart 
after the book has been used a while. No way was evolved for 
eliminating this trouble until after the books for this fall had 
been completed, but the problem has now been solved for 
future editions. 

Because the Pop-Ups are made to be opened fully and 
frequently, it was necessary to have a back strip which would 
always round. By using a light weight Jonathan board, this 
cracking is avoided. And to protect this back strip from the 
glue, as well as to give added strength, a Canton flannel is 
used for super. 

The combination of ingenious constructions, attractive art 
work, and quality printing is largely responsible for the 
success of the Pop-Ups. For this, too much credit cannot be 
given to Mr. James H. Dulin, head of the Caslon Press and 
printer of the books, and to Mr. Harold Lentz, artist and 
designer of the Pop-Ups. Their cooperation made it possible 
to save much expense and to produce a article new to 
American publishing. 

Reprinted from Bookbinding Magazine, February, 1933, 
page 30. 

These people Are definitely 
popping Up In San Diego. 

Roy Dicks 

Sharing >'o_ir Books with Others 

Emily Martin 

Haids-or. \rtferkshop 

Ed Hutehins 

'Stand and Deliver 1 

Ann Montanaro 
The lySovabte Books of Raphael Tuck 

Amber Past 

Artists' Boo<s 



Charlotte Johnson 

Ek,ynt; Bocks en the T"ite-nE-t 

Adie Peria 

The Making o^ 



i \ 




)r^ / 




Donna and Peter Thomas 
Artists' Books 

Howard Rootenberg 

Histcrcal Movable Bocks 

Christians Griffin-Wehr 

"he Becks o'jLliEnVv'ehr 


"ne Books a? ]l lian Wehr 

Will You Be There, Too? 





Cracker Jack Pop-ups 

Ann Montanaro 

While researching C. Carey Cloud's role in the 
creation of the Blue Ribbon pop-up books, I did an online 
search using the name Sam Gold, the man Cloud wrote 
was responsible for taking the idea of the pop-ups to the 
publisher. Finding references to Gold and his subsequent 
role in producing Cracker Jack premiums led me to 
Harriet Joyce and Jim Davis, both premium collectors. 
They were each very helpful in my quest for information. 
Jim supplied biographical data about Cloud and Harriet 
sent me articles about Cloud as well as color photocopies 
of Cracker Jack pop-ups from her collection. I appreciate 
the help I received from both of them. 

and forth and see the animals do their stunts. Every boy and 
girl can easily get one." 

Jack is the 
trademarked name 
of a candied popcorn 
snack food that has 
been on the market 
since 1896. Their 
slogan "A Prize in Every Box" began in 1912 when the 
company started inserting a small toy into each package. 
In 1928 The Cracker Jack Company encouraged 
consumption of their product with an offer of a mail-in 
premium. For 10 cents in stamps and five cut-out heads of 
Sailor Boy from the Cracker Jack box, a boy or girl could 
obtain the pop-up Animated Jungleland Book. To promote 
the book, a prize folder, called a "Wiggle Wag," was 
included in boxes of Cracker Jack. The "Wiggle Wag" text 
read: "Oh, how you'll laugh. Piggie Wig sings. Donkey 
Donk kinks. The birds do stunts. My, but you'll have a 
great time reading and playing with the ANIMATED 
JUNGLELAND Story Book." Cracker Jack issued eight 
different 2" by 5'/ 2 " "Wiggle Wag" pop-ups featuring birds 
and animals, each with an accompanying poem. The 
Ducky "Wiggle Wag," for example featured a duck about 
to stick a bright yellow bill into water. The printed page 
was folded into four sections with the duck's head printed 
across two sections and the duck's bill cut on the fold so 
that it could "wag." 

Just flap this page 
and you will see 
Our Ducky as a 
He tries and tries 
but fishy cries, 
"Just catch me 
if you can." 

The instructions on the back of the folder stated: "If 
you like this prize Wiggle Wag then you'll want the 
JUNGLELAND Story Book. You just wag the pages back 

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Back of "Wiggle Wag' 

The Animated Jungleland Book, published in 1928 
by The Cracker Jack Co. of Peoria, Harrison and Sangamon 
Streets, Chicago, U.S.A., measured approximately 4" x 5" 
with two stories on 26 pages. In the first story, "Let's Give a 
Party," Piggy-Wig and Billy Goat decided to have a party and 
they invited their animal friends to do funny stunts. The four 
illustrations with pop-ups were printed on a double-size sheet 
with the extended side folded in to meet the binding. In the 
first pop-up the animals joined in a circle to hear pig sing a 

song. Each of the pop-ups 


J Book 

was a simple V-fold with 
the animal printed on the 
fold. The pig's mouth was 
cut so that when the page 
was opened he appeared 
to be singing. In the next 
pop-up scene the dancing 
Donkey-Donk kicked his 
hind legs up and down. 
The text included 
instructions: "If you hold 
your finger behind the 
crease and move the page 
gently back and forth, you 
can see how he danced." But donkey's dancing looked 
dangerous to the other animals and they hurried out of his 
way. The birds then joined in the fun and, in the second story, 
"The Birds' Stunt Party," showed the animals a few tricks of 
their own. In the final two pop-up scenes the owl's beak 
opened and the mallard's wing flapped. It is an amusing and 
entertaining little book and an interesting use of pop-ups. 


Questions and Answers 

Cedar Rapids Museum of Art "Emily Martin: Slices of 
Life." May 15 - August 29, 2004. Gallery talk with the 
artist on Wednesday, August4 from 12:00 - 1:00 p.m. 410 
Third Ave., SE, Cedar Rapids, Iowa, 

Katonah Museum of Art "What's in a Book: A Book 
Arts Exhibition." May 27 - October 23, 2004. "The 
exhibition explores some of the ways that artists use books 
as an expression of their art and as a medium for their 
personal vision." Katonah Museum of Art, Route 22 at Jay 
Street, Katonah, New York. 

Musee Alexis Forel. "Pages Magiques des Livres 
Animes." A Swiss exhibition of movable books. 

Joining the series of European countries that brought 
impressive exhibitions of movable and pop-up books 
during the last couple of years, Switzerland proves to be 
the next. On March 8, 2004 the exhibition Magical pages 
of movable books opened in the Musee Alexis Forel in 
Morges, some seven miles from Lausanne or 25 miles 
from Geneva. On display are the highlights of a private 
Swiss collection, completed with loans from the Swiss 
Institute of Youth & Media in Zurich. Though the greater 
part of the books shown represent the second golden age 
of movable books, also included are some 20 interesting 
titles from 1 890- 1 950. Every Wednesday afternoon at 3 :00 
p.m. there is a guided tour with a demonstration of the 
movement of the books. The exhibition continues until 
September 26. For more information - and to see some 
pop-up books in motion - Musee 
Alexis Forel, Grand-Rue 54, 1110 Morges, Switzerland. 

New Britain Youth Museum. "Paper Toys: An 
Exhibition of Paper Dolls, Pop-up Books, Paper Soldiers, 
Construction Toys, Games, Puzzles and other 
Amusements." The exhibit, which runs through August, 
includes over 200 paper toys ranging from 1870 to the 
present and include books and toys from the collections of 
members Frank Gagliardi and Robert Sabuda. New 
Britain Youth Museum, 30 High Street, New Britain, 

Catalogs Received 

Cattermole 20 th Century Children's Books. Catalog 39. 
9880 Fairmount Road, Newbury, Ohio 44065. Email: 

Jo Ann Reisler, Ltd. Catalogue 65. 360 Glyndon St., NE, 
Vienna VA. Phone:703-938-2967. Fax: 703-938-9057. 

Stella Books. Pop-up List. 

A. Ann Montanaro issued a challenge to me in the February 
2004 Movable Stationery concerning another use of a pop-up 
in a movie (based on my article on the pop-up book used in 
Sunday, Bloody Sunday - see the November 2003 issue). Ann 
had read a newspaper article on pop-ups which referred to the 
film Legally Blond 2. The article stated " Elle Woods 
champions animal rights in front of Congress with a pop-up 
book. When lawmakers dismiss her, [she] can't believe her 
visual aid didn't do the trick." Ann wanted to know what 
pop-up book the character used. 

Having not seen the film, I acquired the DVD version to 
investigate. At first, I could not find the scene described when 
fast-forwarding through the film. There were several scenes 
of committee hearings and one in front of the full Congress, 
but no pop-up. Viewing the film in real time from the 
beginning allowed me to discover the referenced scene, 
although it was not at all as described in the article. 

The article was apparently written at the time the film 
was in theaters in 2003, the writer mis-remembering what he 
had seen. As it turns out, the scene in question takes place in 
a hallway outside a Congressman's office (at 34:02 minutes 
into the film). Elle is trying to convince that Congressman's 
staff member to allow her to see him about her rights issue. 
Elle says, "If you insist that Congressman Marks is 
unavailable, perhaps you could take a look at my alternative 
testing economics incentive chart." The staffer rolls her eyes 
and shuts the door in Elle's face. Elle disappointedly holds up 
what she has been carrying and says "But it's a pop-up!" At 
that point she opens a handmade double page spread on her 
signature pink paper. The spread has a chart with green lines 
connecting various large dots. A simple V-fold of a large 
hand-drawn dollar sign pops up from the center. 

So this one turns out not to be a previously existing book 
(and there's no credit for the paper engineer!) 

OK, next challenge. 

Roy C. Dicks 

Raleigh, North Carolina 

A. I saw your query in the latest Movable Stationery about 
the pop-up book used in Legally Blonde 2, which my cousin 
Marc Piatt produced. I asked his secretary if she had any 
insight, and she responded that below the Props Dept. created 

Joel Stern 

Los Angeles, California 

Q. For a conference presentation on the movable books 
of Raphael Tuck I need copies of images from books by 
the publisher. If you have books in your collection and 
could send me images, please contact me. 

Ann Montanaro 

Q. Some time ago I found a pop-up item on eBay 
described as being from the October 1926 issue of Child 
Life Magazine. From the eBay picture, "The Pop-up 
Pumpkin" by John Dukes McKee appeared to be printed 
in two colors on a single sheet of paper, designed to be cut 
out and assembled by the reader. 

THE # POP-tm ffi J>UMPHJf. 


This do-it-yourself item 
from 1926 prompted me to 
try to find out when the 
term was first used to 
describe a paper 
mechanism that pops up. 
The Oxford English 
Dictionary (OED) defines 
"pop-up" as both a noun 
and an adjective. As a 
noun, the first usage given 
is 1906 with the following 
reference: "1906 Spalding's 
Offic. Base Ball Guide 126. 
A trapped ball play was made when runners were on 
bases, and a 'pop-up' fly ball was expected to be caught." 
Until the 1970s the only references the OED gives for the 
noun "pop-up" relate to baseball, toasters, or campers. 

As an adjective, the OED lists the first occurrence as 
1934 with a reference to a "pop-up target." The first 
reference to a paper mechanism is given as "1963 S. 
MARSHALL Exper. in Educ. iv. 153. Every illustration 
is conceived and executed as a 'pop-up' scene." 

Does anyone have a reference to a paper pop-up 
mechanism prior to 1926? If so, please send me the 

Ann Montanaro 

Q. At the New York Antiquarian Book Show I saw for 
sale a copy of the limited edition of David Carter's 
Nutcracker. It was issued in a box with an extra plate on 
the cover and was signed by both Noelle and David 
Carter. I know other books were issued in limited editions, 
please include a list of them in the newsletter. 

The 5 th Movable Book Society Conference 

Preliminary Program 

The times and dates of these presentations 

may change to fit the presenter's schedule. 

Thursday, September 30 

4:00 - 5:00 

Registration and reception at San Diego 

Hilton Gaslamp District 


Bus ride to Mesa College 

6:00 - 7:00 

View exhibition of artists' books - "Stand 

and Deliver" 


Gallery Talk - Ed Hutchins, curator 


Presentation of "Stand and Deliver" awards 

Friday, October 1 


Welcome - Frank Gagliardi 


"The Making of the book A Celebration oj 

Pop-up and Movable Books" - Adie Pefia 


Books of Julian Wehr - Christiane Griffin- 

Wehr and Paul Wehr 



1:30- 2:30 

"Movable Books and the Internet" - 

Charlotte Johnson 

2:45 - 3:45 

Artists' Books - Ambar Past 

3:45 - 5:00 

Sharing your Books with Others: Exhibits, 

Book Groups, etc. - Panel discussion led by 

Roy Dicks 

Saturday, October 2 

9:00 - 10:00 

"The Movable Books of Raphael Tuck" - 

Ann Montanaro 

10:15- 11:15 

Artists' Books - Peter and Donna Thomas 


"Historical Movable Books" - Howard 





Workshop - Emily Martin 


Book sales 


Banquet - speaker David Carter 

Eleanor Heldrich 
Lutherville, Maryland 

Movable Reviews 

Marilyn Olin 
Livingston, New Jersey 

3 = O.K. 4 = GOOD 


I am devoting most of Movable Reviews to books I 
have received from Amazon, U.K. These pop-ups were not 
available in the U.S.A. at the time this report was written, 
but can be ordered at the above. Some are very special and 
should be in any pop-up collection. Perhaps they will be 
available in the USA in the future. 




Illustrated by Anne Sharp. Paper engineering by Nick 
Denchfield. Published by Macmillan Children's Books, a 
division of Macmillan Publishers Ltd. Pub.: Oct., 2003 in 
London. ISBN 0-333-99857-X. 14.99 pounds sterling. 24 
x 32 cm. 16 pages. There are 3 double-page, stage type 
pop-ups, 4 fully-assembled 3-D models and 13 press-out 
magical beasts and other material to set up each scene. 
This is a fascinating book which both children and adults 
will enjoy. It has drawings and information about magical 
beasts around the world, including the werewolf, hydra, 
griffin, phoenix, centaur and many others. The models are 
well-made and with one step an older child or adult can 
make them 3-D. This is a wonderful way to learn about 
the myths and legends of these magical beasts. Paper 
Eng.:Very good! 

Rating: 5 

ADVENTURE. Illustrated 
by Sue Scullard. Paper 
engineering by Nick 
Denchfield. Published by 
MacMillan Children's 
Books, a division of 
Macmillan Publishers Ltd. 
Pub: Oct., 2003 in London. 
ISBN 0-333-96 134-X. 14.99 pounds sterling. 27 x 27 cm. 
10 pages. 5 fabulous double-page pop-ups and many 
smaller ones. This is one of the best pop-up Nutcrackers 
that I have seen. There is a tall pop-up Xmas tree and an 
enchanting, elaborate Land of the Sweets. Pop-up presents 
can be opened and everything is beautifully detailed. A 
lovely book. Paper Eng.: Complicated and intricate. 

Rating 1 4/2 

POP-UP SPOOKY CASTLE. Illustrations by Steve Cox. 
Paper engineering by Nick Denchfield. Publisher: Macmillan 
Children's Books, a division of Macmillan Publishers Ltd. 
Pub.: Oct., 2003 in London. ISBN 0-333-96133-1. 14.99 
pounds sterling. 28 x 28 l A cm. One huge, elaborate, pop-up 
spooky castle with a tower that rises up as the book covers 
meet. There are wonderful figures to press out and a game to 
play. Paper Eng.: Intricate and carefully done. 

Rating: 3 

PIG: POP-UP. By Eugene Trivas. Ilustrations by Helen 
Oxenbury. Paper Engineering by Keith Finch. Publisher: 
Egmont Books Limited. Pub: Sept., 2003 in London. ISBN 1- 
4052-0669-1. 14.99 pounds sterling. 27 !4 x 22 cm. 16 pages. 
(If you order this book from Amazon, U.K. be sure to put 
POP-UP in the title or you will get the story book only.) This 
delightful book is full of pop-ups, pull-tabs, slides, etc. The 
author states that his book is an attempt to overcome the 
stereotyping of good and bad and it's done wonderfully. The 
lovely illustrations, the soft colors and the well written story 
make this a special story. Paper Eng.: Original and 


Rating: D /2 


LADYBIRD. By Isobel Finn. 

Illustrations by Jack Tickle. 

Published by Little Tiger Press. 

Pub. Aug., 2003 in London. 

ISBN 1-85430-873-4. 7.99 

pounds sterling. 26 Vz x 24 Vi 

cm. 16 pages. 8 pop-ups. This is a book very young children 

would love to have read to them over and over. The pop-ups 

are simple but colorful and there is a really sweet story which 

will entice children. Paper Eng.: Modest, but well-done. 

Rating: 4 /2 


GinnyRuffher. Publisher: Montgomery Museum ofFine Arts. 
Pub.: June, 2003 in Montgomery, Alabama. ISBN 0-89280- 
040-2. $19.95. 22 x 16 cm. 14 pages. 7 pop-ups. This book is 
a pop-up interpretation by multi-media artist Ginny Ruffher 
of her installation at the museum on the theme of creativity. 
There are seven unusual pop-ups. This is a wonderful book 
for adults and a lovely gift for any artist. Paper Eng.: 
Different and well-done. 


Rating: 3 

POP-UP BUGS. By Sally 
Hewitt. Illustrated by Chris 
Publisher: Harry N. Abrams, 
Inc. Pub. March, 2004 in 
New York. ISBN 0-8109- 
5032-4. $14.95. 30 x 24 Vz 
cm. 12 pages. 6 wonderful, 
giant, elaborate pop-up bugs 
and a rhyming text will 
make boys and girls squeal 
with delight. The 
illustrations are bright and fun. Paper Eng.: Terrific! 

Rating: ^ 

STORIES. Text and illustration by Lulu Hansen. 
Published by Universe Publishing, a division of Rizzoli 
International Publications, Inc. Pub.: Jan., 2004 in New 
York. ISBN 0-7893-0816-9. $25.00. 16 x 23 % cm. 18 
pages. 9 double-page pop-ups. Within this book are 9 
beautifully illustrated Zen stories. The art is painted with 
subtle Sumi inks and the pop-ups provide each tale with 
a 3-dimensional spread. Any of the stories shared with a 
child would create a wonderful discussion. This is an 
especially sensitive and lovely book and designed with an 
understanding of its Zen source. Paper Eng: Perfect for 
this book. 

Frankfort Book Fair, continued from page 1 

Like the last two books by Mrs. von Stemm on the strange 
couple Fraulein Pop and Mrs. Up, published by RoRoRo, 
this is a do-it-yourself pop-up book. The reader has to cut 
out the figures on the last 20 pages of the book and 
assemble them into pop-ups, pull-tabs, or flaps-to-lift and 
then paste them in the right places in the book. An extra 
interactivity is offered since there is a special website that 
is an integral part of the reading of the story found at 

Missed at the Fair but spotted by our fellow German 
collector Peter Schfihle was another new pop-up book: 
Alte Nationalgalerie in 3D (The Old National Gallery; 3- 
9363 1 4-23-3) by Michael Lewitscharoff. Published by the 
new Jovis Verlag, this book is on the history and treasures 
of the famous Berlin Museum. The design and paper 
engineering was done by the same team that was 
responsible for that gem of paper engineering The Berlin 
Pack. This book includes an additional booklet featuring 
works from the collection and a set of postcards of its 

masterworks. It also has a richly detailed pop-up of its 
characteristic neo-classical building located on the "Isle of 
Museums" in the heart of the new German capital. And 
again, the pop-up opens and closes perfectly! 

I thought it was peculiar to find here a nice 
anthroposophical movable book - though in its third 
impression here, the first dating from the 1960s - at 
Mellinger Verlag from Stuttgart: Erde, Wasser, Luft und 
Licht (Earth, water, air and light; 3-88069-237-8), a turning- 
wheels book by Wera Bockemuhl. The four plates that 
accompany the rhyming texts on each of the elements are 
done in soft colors with strongly rounded composition typical 
of the anthroposophical principles. They show alterations 
within two openings when the wheel is turned with a small 
window near the center of the 
wheel and a wider one towards the 

From Spain comes a couple of 
nicely designed and illustrated 
books by Alex Baena with, 
respectively, a fold-out theater stage 
and a circus ring built in and 
additional press-out characters to 
perform shows: Trap y Cleta en el 
Teatro and Trap v Cleta en el 
Circo (Barcelona, Beascoa 

A collectible Spanish oddity is El Nazareno. Semana 
Santa de Leon (The Man from Nazareth. Holy Week in Leon 
- a small Spanish city;, 2003, no ISBN) a pop-up 
book (a cover with one spread only) that has as its theme the 
Christian Holy Week. It shows in pop-up the rather macabre 
procession in which during this week in some parts of 
Catholic Spain the suffering, cross-bearing Christ is carried 
about on the back of tens of men, wrapped from head to foot 
in black. Done by the Spanish artist Fernando Ferreras in 
(apparently) a limited edition since the copy I saw was 
numbered. He is preparing another pop-up La Esperanza 
Macarena and they can both be ordered from 

Remarkably, this year the 
most new continental pop-up 
books were found at the stands 
of publishers based in France. 
Could the great exhibition in 
the Marche Dauphin, in which 
the Paris antiquarian 
bookseller Jacques Desse 
earlier this year showed such a 
marvelous survey of French 
pop-up books have been 
influential already? 





^^ t, K 



The young packaging company of MFG Education 
from Evry last year offered some first dummies and they 
have now greatly enlarged their production. All of their 
books are illustrated by Christian Hache and are paper 
engineered by Jean-Luc Cherrier. They contain no fewer 
than eight, sometimes even 10 spreads and are packed 
with pop-ups. Some also have added pull-tab animations 
in bright colors aimed at the market for young children: 
1,2,3, Compte a la Ferme (1,2,3, Count at the Farm; 2- 
84403-472-1); Les Couleurs des Animaax (The Colors of 
the Animals; 2-84403-475-x) including a great giraffe 
with a stepped neck; Le Chateau Enchants (The Haunted 
Castle; 2-7502-0035-0); and Le Merveilleux Voyage (The 
Marvelous Journey) All will be issued in 2004. Also in 
preparation is a series of pop-up editions of the classic 
children's books Pinocchio, The Beauty and the Beast 
(with an innovative mechanism of self-sliding Venetian 
blinds), Alice aupays des Merveilles from which a nice 
dummy was displayed, and others. Surely it is a 
production of desirable items to keep an eye on! 

The Paris publishing house of L'Ecole des Loisirs had 

three new theater books designed and illustrated by 
Kimiko. (Kimiko is half-French, half-Japanese by birth 
and was active in the haute-couture before deciding to 
make children's books). She adds a nice three- 
dimensional effect to her books by the use of a proscenium 
arch, a pierced second layer and a backdrop, like the 
compartments of a carousel book. Two years ago we saw 
the first two parts, last year another two, and now she has 
published three new titles: Hansel et Gretel, La Princesse 
au Petit Pois (The Princess and the Pea), and Coucou 
P&re Noel (Peek-a-boo Father Christmas). They are very 
attractive books done in bold colors with a strong but 
simple design and large color levels resembling poster art. 
The same publisher has the funny Le Grimacier (The 
Handbook of wry faces) by Dorothee de Monfreid. It is a 
movable book that instructs young children on which face 
to pull when asked to wash hands, to dress, etc. Offering 
a hilarious repertory of the best grimaces, instructed by the 
faces of humorous animals, it is made movable so the 
child can practice an exact performance. Great fun! 

An elaborate "Panascopic Model'Mike a pop-up scene - 
measuring a whole 30x38 cm - of La Maison de Mireille 
I'Abeille (The House of Mireille the Bee; 2-07-053904-0) 
by Antoon Krings and illustrated by Virginie Fraboulet 
and Thierry Buron, was shown by Galiimard Jeunesse 
from Paris. Accompanied by a text booklet and four plush 
characters, it was paper engineered in-house by Hua Yang 
Printing. It is a great pop-up item featuring the well- 
known bee character. 

Finally I saw some desirable new products from 
Christian Legrand, in my opinion an under-rated paper 
engineer. He is of French origin but, with his company 

ORCH-Print, works in Bangkok, Thailand. In 2002 the 
companyofHemma, from Chevron in Belgium published two 
great books designed by Legrand - that were apparently 
missed by me: Une Journee a la Ferme: Un Livre en Relief 
(A day at the farm: A three-dimensional Book; 2-8006-8205- 
1) and Une Journee en Foret: Un Livre en Relief '(A Day in 
the Wood: A three-dimensional Book; 2-8006-8204-3). Both 
of these books offer detailed pop-up scenes to be filled by a 
child with lots of cut-out figures that are inserted or stand up. 
The figures can be stored in an envelope at the back of the 
book. I think the young child will find it very pleasant to 
make his own scenes over and over again. It will develop his 
imagination, stimulate him to tell his own stories by naming 
all the animals, etc. 

I saw some other nice items designed and paper 
engineered by Christian Legrand at another Belgian 
company, the Brussels based Casterman. They have been 
active for several years with French language co-editions of 
pop-up books produced by Sadie Field Productions and 
Intervisual. "Martine" is their rather sweet main character in 
a series of books for girls that started in 1954 (!). They were 
created by Albert Delahaye and illustrated by Marcel Marlier. 

Meanwhile 53 parts have 
been published and over 
50 million copies have 
been sold, mainly in 
countries. They are so 
well-known that I recently 
heard questions asked 
about them on a popular 
Belgian TV quiz show. 
Casterman has now 
revived the sales of this 
front list item by adding 
novelties (such as cube 
books) and all kinds of merchandise. Three nice four- 
compartment carousel books that re-use the 1950s Marlier 
illustrations were designed and engineered by Christian 
Legrand, La Ferme de Martine (Marline's Farm; 2-203- 
10681-6), La Maison de Martine (Martine's House), and 
Martine en marche (Martine at the Market; both to come). 

Most spectacular however is the inflatable paper merry-go- 
round with mechanical music box that Legrand designed for 
Martine: Le Manege de Martine (2-203-10662-4). It is a 
variant of the earlier Christmas roundabout Das 
Weihnachtskarrussell published in 2000 exclusively in 
Germany by Coppenrath . Executed now in the typically 1 950s 
colors, this one looks even more nostalgic. Casterman also 
published a Dutch edition for the Flemish market as De 
Carroussel van Tiny. It is a wonderful paper toy and a gem of 
paper engineering using rubber bands that make the 
roundabout pop-up at once automatically once the package is 



Finally; My Best of the Fair. 

I have kept my private favorite pop-up book to 
conclude this contribution. Indisputably, my choice as the 
best of this year's Book Fair was the other new pop-up 
Alice: J. Otto Seibold's Alice in (Pop-up) Wonderland 
(Orchard Books, 0-439-41 184-X). As a passionate lover 
of Carroll's brilliant nonsense story from the 1860s, as a 
collector of new but artistically illustrated editions of this 
children's book classic, and as a pop-up afficionado, I 
greatly appreciate this highly original version. Using the 
"original text from the Lewis Carroll classic," as stated on 
the front cover, the author didn't walk into the trap of 
trying to excerpt the complete story once again. As a 
reader I want my knowledge of the story to be taken 
seriously; even more since the book offers extra 
information, such as the opportunity to see and read "The 
book Alice was reading when she was bored." The new 
illustrations are by the acclaimed artist Seibold, the 
creator of Olive, the Other Reindeer - a picture book that 
is now an icon of modern children's book illustration 
among the young 
illustrators and 
graphic designers 
here. A fact I 
experienced recently 
when preparing a 
conference on the 
modern picture book. 
For his Alice, 
Seibold did terrific 
pictures, again 
mirroring the 
nonsensical humor of 
Carroll that is missed 

in so many other Alice re-makes. For that reason it is 
already now a classic in its own way. The more I look at 
them, the more details and humor I see. The strange use 
of perspectives (even sometimes conflicting), the 
remarkable use of shadows, very appealing colors, great 
lettering that very well integrates in the whole concept of 
the spreads, shaped pages and ditto flaps that betray 
themselves as flaps at second sight only, and hardly any 
reminiscence of the all too well-known Tenniel images. 
Equally well done is the supportive, not obtrusive use of 
pop-ups, lift-flaps, sliding pictures, wheels, pull-tabs, 
doors to open, an innovative three-dimensional scene that 
hides between the pages (literally a "shadowbox"). It ends 
with an extravagant pop-up final of the Alice - grown to 
her full size again - as the center point of an ingeniously 
unfolding wheel with the well-known Wonderland 
animals seated into kind of carts as found at some fair 
attractions. It is really a masterpiece of the paper engineer 
James Diaz who did all the movements and pop-ups and 
has been admired for years for his innovations and tricky 
mechanics. His company White Heat produced the book. 

What a marvelous solution he has found for the vanishing of 
the Cheshire Cat till only its grin remains! This is my only 
private 5+ rating of the season, for its design, its illustrations, 
and its paper engineering alike. The only minus of the book, 
I think, is the use of paper that is too weak. But it is forgiven 
for all the good things that the book offers otherwise. Buy this 
book, it is a must-have for any collector, however over 
indulged he or she may be! 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, internet sources, 
or other advertising. All titles include pop-ups unless 
otherwise noted. 

Amazing Pop-Up Stand-Out Dinosaurs. By Eugene Trivizas. 
September. Egmont Books. $24.95. 1-4052-0801-5. 

Bible Pop-Up Adventures. 
By Tim Dowley and 
Dudley Moseley. September. 
Kregel Publications. 

Birthday Bugs: A Pop- 
up Party. By David 
Carter. Little Simon. 

Chick Tock. Book 
Company Publishing Pty, 
Limited. $14.95. 
8 x 10-inches. 



Fiona Goes to Fairy School. September. 14 pages. 10 x 9 
x 7-inches. Piggy Toes Press. 1-581 17-322-9 

Flutter By. Book Company 
Publishing Pty, Limited. 
$14.95. 8 x 10-inches. 

Harold and the Purple 
Crayon. Harold Takes 
a Trip: A Movable 
Pop-up Book. $7.95. 
Piggy Toes Press. 1- 

HAROLD ondthe 

Harotd TaKea a Trip 


A MovaMc Pop-Up &OOK 

The Hiccuping Hippo. By 
Keith Faulkner. $12.99. 
Dial Books for Young 
Readers. 0-8037-2963-4. 

/ know an Old Lady Who Swallowed a Fly. July 2004. 14 
pages. Dimensions:10 x 8.25 x 11-inches. Piggy Toes 
Press. 1-58117-267-2. 

On Top of Spaghetti: A Silly Song Book. July 2004. 12 
pages. 10 x 9 xlO-inches. $12.95. Piggy Toes Press. 

Peanuts: A Pop-up 
Celebration. By Charles 
M Schulz (Based on a 
comic strip by) Paige 
Braddock (Adapted by) 
Bruce Foster. August 
2004. Little Simon. 
$19.95. 0-689-85453-6. 

Sarge in Charge. (A Busy 
Bugz Pop-up). By Christine 
Tagg. Silver Dolphin Books. 
$12.95. 16 pages. 9 x 11- 
inches. 1-59223-148-9. 

Spring Is Here 

4 f >H 

Spring Is Here: A Barnyard 
Counting Book. Little 
Simon. $7.99. 14 pages. 7 x 
7-inches. 0-689-85388-2. 


Snappy Little Splashers. By 
Derek Matthews. Silver 
Dolphin Books. 8 x 10-inches. 


Speed Machines: A Pop-up 

Book with Moving Gears. August 2004. Piggy Toes Press. 

$14.95. 1-58117-323-7. 

Tibetan Buddhist Altars: A Pop-up Gallery of Traditional Art 
and Wisdom. By Tad Wise, Robert Beers, and David A 
Carter. September 2004. Maple Tree Press. $21.95. 

What's baking, Strawberry Shortcake? Penguin. $5.99. 

White Houses Pop-Up Book. By Chuck Fischer. September. 
Universe Publishing. $35.00. 0-7893-1064-3